The Mirror Space Exhibition Section, Endpoint, Connection Line will open on November 11th. This exhibition presents the works of HeXun LiShun LinCong QinJun and WangJiajia.
Imagine a piece of white paper of equal mass, divided equally by a horizontal line centered in the middle, resulting in two modes of movement: an external trajectory crossing the plane, or two objects colliding and crushing each other. The former’s high-speed motion creates a myriad of “sections,” as Deleuze describes the flying arrow, which “at each point in its course must react instantly to the external force of the moment. ” The latter force-force interaction demonstrates the highest “endpoint” of materiality itself, which exhibits stability due to the interrelationship of surfaces, and as matter moves towards this edge, it also represents a movement towards the highest point of the work – the highest point of materiality.
The above imaginative description is partly inspired by Arthur Danto’s theory of the Art World, and concerns the historiographical theory of the form and identification of art – the different systematic methodologies that have led to the establishment of a particular work of art, as in the case of the urinal, the Brillo box, the historical status of the giant spoon…… So what do these fractured blocks and continued points represent to us in a concrete sense?
If we identify them from the perspective of image generation, they represent different modes of movement, one is the wandering pastoral view, instantly cutting in the movement of scene to scene; the other is to observe the linkage between this collection and the other collection in the overall movement.
From the point of view of textual symbols, many “sections”, of course, are relatively divided, but they are subordinate to a piece of white paper, and are interrelated with each other. Then in the writing structure, the broken pieces of paper put together will branch out beyond the hierarchical classification, resulting in dérivé or détournement, and more importantly, it emphasizes the pure linguistic relationship; while the “end” is concerned about the logical relationship and the meaning relationship, because it is eagerly moving towards the edge of the paper, the edge of the expression space. Under this rigorous and meticulous thinking framework, meaning production wants to reach its highest standard, to be recognized by the subject and understood by the reader, and this is where dialogue is crucial.
From the perspective of knowledge production, in the “section” triggered by sliding forward, what we see is an event, a struggle between one force and another, which does not intend to form an image, but is about becoming a question, a “thought of question”. In the “endpoints” that are squeezing each other, what is important is the solidity and constancy of the whole, the “idea of essence”.
Whether discussing ontology or historical issues, we cannot escape from the present. The exhibition will present the works of five highly expressive artists, each of which is embellished with life experiences that can be relied upon, or illusory colors that can be dismissed as illusions, symbolizing the different trajectories of life’s movement, and demonstrating the collision between the material and the spiritual forces of the present time.